This is the first ever monograph in English on the acclaimed Serbian sculptor Olga Jevric (1922–2014), accompanying the PEER gallery, London exhibition (28 June – 14 September 2019) presenting a group of sculptural works produced between the late 1940s and early 1990s.
An exhibition that focused on Jevric’s Proposals for Monuments was presented at the Henry Moore Institute in 2006, but this is Jevric’s first solo exhibition in London.
Jevric worked primarily with a mixture of cement, iron dust, rods and nails, to create a range of distinct forms that investigate the relationship between solid matter and void; weight and weightlessness; containment and release.
The surface of the works are roughly textured and pitted as if created by nature, rather than the artist’s hand. Jevric referred to her work as ‘spatial compositions’ rather than sculptures, suggesting how her musical training provided her with an understanding of how abstract form, like tone and timbre, can be used to highly expressive ends.
By way of bringing Jevric’s extraordinary work to contemporary British audiences, Richard Deacon (who met the artist at her studio on a number of occasions) and Phyllida Barlow and have been invited to write personal responses to this artist’s work.
Other texts include an introduction by Fedja Klikovac of Handel Street Projects, a preface by Ingrid Swenson from PEER gallery and an essay by Serbian art historian Jesa Denegri.